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VITA ET MORS teases out the absolute extremes of human existence: Debussy's L'isle joyeuse and Scriabin's Fourth Sonata sparkle with vivacity, desire and longing for light - moods that stand out all the more sharply in contrast with the works that surround them. Janacék's 1st X. Sonata, Schumann's "Ghost Variations," and Sergei Prokofiev's fourth sonata have apparent references to death and dying. Janacék, for example, was inspired to compose by the death of a Czech worker who had been shot by the military during a demonstration; Sergei Prokofiev dedicated his work to a friend who had committed suicide a short time before, and Robert Schumann threw himself into the ice-cold Rhine while working on the so-called "Ghost Variations" - according to his own statement, he received the theme of the piece from the spirits of Mendelssohn and Schubert. Although he barely survived and could finish the work - his last - he was committed to the Endenich mental hospital shortly after. How could such a program, which explores all boundaries, be better introduced than with two God-fearing chorale preludes by J. S. Bach?

Johann Sebastian Bach (1685-1750) / arr. Feruccio Busoni (1866-1924)
from 10 Chorale Preludes:

Wachet auf, ruft uns die Stimmen, BV B 27, No.2

Ich ruf zu Dir, Herr Jesu Christ, BV B 27, No.5

Leoš Janácek (1854-1928)
Piano sonata 1. X. 1905

1. Predtucha (Foreboding)
2. Smrt (Death)

Alexander Skrjabin (1871-1915)
Klaviersonate No.4 in Fis-Dur, Op.30

1. Andante
2. Prestissimo volando

Pause

Maurice Ravel (1875-1937)
Pavane pour une infante défunte 

Claude Debussy (1862-1918)
L'isle joyeuse, L. 106

Robert Schumann (1810-1856)
Die Geistervariationen (Thema mit Variationen) in Es-Dur, WoO 24

Sergei Prokofiev (1891-1953)
Klaviersonate No. 4 in c-Moll, Op.29

1. Allegro molto sostenuto
2. Andante assai
3. Allegro con brio, ma non leggiero

The programme brings together many of the pianist's (Linda Leine) heartfelt pieces that have been significant in various contexts along her life's journey so far. At the same time, they are centrepieces of the piano literature in general - for example, Domenico Scarlatti is considered a pioneer in his sonatas as far as virtuoso playing techniques such as crossings of the hands, quick leaps, or repetitions are concerned. Robert Schumann himself described his Fantasia in C major, composed in 1839, as "probably my most passionate thing I have ever done", an assessment shared by pianists to this day and underlines its undisputed importance a milestone in piano literature. Originally entitled "Sonata", the work, imbued with poetic ideas and messages to Clara, also reflects the genre's development from Scarlatti's one-movement miniatures to the four-movement form that tends towards the symphonic. Four movements had already become established in Franz Schubert's A minor Sonata, composed a good ten years earlier. In addition to its symphonic dimensions - the 28-year-old composer himself described the sonata as a premiere grande sonata - Schubert's affinity for song and folk music is unmistakable. 

Domenico Scarlatti (1685-1757) 

Sonate in C-Dur K. 159, L. 104 

Sonate in h-Moll K. 87, L.33 

Robert Schumann (1810-1856)

Fantasie in C-Dur, Op. 17

1. Durchaus fantastisch und leidenschaftlich vorzutragen; Im Legenden-Ton
2. Mäßig. Durchaus energisch
3. Langsam getragen. Durchweg leise zu halten

Pause

Domenico Scarlatti (1685-1757) 

Sonate in D-Dur, K 119, L. 415 

Sonate in fis-Moll K.25, L.481 

Franz Schubert (1797 – 1828)

Sonate Nr. 16 a-Moll, D. 845

1. Moderato
2. Andante poco moto
3. Scherzo: Allegro vivace – Trio: Un poco più lento
4. Rondo: Allegro vivace